“Nothing is more powerful than an idea whose time has come.”

Victor Hugo

Joining us in the studio is a good friend of mine and a legend in the entertainment world, Wes Dening. 

Wes grew up in Brisbane, Australia, before a stint in the Big Brother house gave him a taste of television. Today, he is an award-winning entrepreneur, producer, and content creator.

Wes has developed, sold, and produced critically-acclaimed content for an array of media platforms, and has grown content businesses around the world. As founder of production company WDE, Wes has developed programs that are broadcast in 50+ countries worldwide, including Big Crazy Family Adventure, The Stafford Brothers, and The Flying Winemaker.

In 2016, he joined Eureka Productions where he has since executive produced shows like Dating Around (Netflix), Finding Magic Mike (HBO Max), and Crikey! It’s the Irwins (Animal Planet). Wes also produced the miniature golf show Holey Moley alongside three-time NBA champion Steph Curry, which debuted as one of the most-watched new series premieres on US television.

In this episode, we talk about:

• The three attributes that underpin Wes’ success
• How to prepare for a successful pitch in your business
• The most thrilling moments from his television career, and
• How thinking big can help you win big. 

Before we begin, the right bit of inspiration can completely change the trajectory of someone’s life, so if there’s a friend or loved one who needs to hear this episode or could use some help to Win the Day, share it with them right now.

Let’s WIN THE DAY with Wes Dening!

James Whittaker:
Wes, great to see you, buddy. You'll need to update your corporate bio now to include the Win Day podcast!

Wes Dening:
Mate, it's great to be here. And it was really nice of you to pull out some of those credits and I love the shows that I make. I really do. And I'm very passionate about them. So it's nice sometimes just to sit back and listen to the ones that we've spilled blood over and the ones that we love. 

Some are tougher than others, but it's nice to just take a moment and enjoy some of those titles, because there's a lot of memories there. That's for sure.

A lot of things going on behind the scenes for 22 minutes or whatever it is of finished footage!

That's so true. I mean even last year, being a year dealing with COVID, it just makes television production harder. 

Shows are fun to make generally. Television's great fun. And with COVID, one show, we spent two months in a hotel in a bubble making a show about male strippers in Las Vegas in the middle of summer during the delta variant. And it was actually really hard, but the product is great. So TV, we do have a lot of fun with what we do.

You have such an exciting and dynamic life. But you've also got a wife and three kids. It's tough to be on set around the world for months at a time. 

Yeah, definitely. And I find I have that balance where I try and keep my weekend sacred. 

There are times during the week where I'll disconnect from work to do something with the family. But the reason I do that is because then the next thing I know, I might be away for two months or three months.

Shortly, I'm off to the Mediterranean for four weeks for a shoot. And there'll be another time where I have to go away for six weeks.
I've done stints of six weeks in Antarctica. For Big Crazy Family Adventure, that was 96 days on the road nonstop. Finding Magic Mike, two months in a hotel in Las Vegas. So some shows you come and go, some shows are based here in LA. But a lot of shows, you're required to go away for a period of time.

Speaking of iconic TV shows, you did Big Brother back in the day as your first foray into the television world. Take us into that moment. How thrilling was that at the time?

It was exciting. I was living in London when I was 18 and when I came back to Australia, it was my mum's idea. She said, "Oh, they're auditioning for Big Brother. You should put in the tape." I was like, "Oh, okay. I'll do it. Why not!?"

And I hadn't really watched the show, but I knew how huge it had been in the UK. Then in the back of my mind I thought, "Oh, this could be a great way to get some entrypoint into television." I did a tape – and at the time I think they had like 14,000 people apply. 

I did the finals and then got in the show and it was great. I can look back now. It's been 18 years since I did that, and I was 20 at the time. It's almost at that stage now where it's a great nostalgic sort of throwback, but it still carries wherever you go to some extent.

I’ve been with you when people still mention that they remember you from the show!

They do! Yeah, it's really sweet. 

In fact, I just had a call from my mum recently. She was telling a story about me and everyone remembered me from Big Brother which is really, really sweet. It's amazing how, at that point in time, reality and television, particularly in Australia in 2004, was such a touchpoint for a lot of people and yeah, I have fond memories. 

I remember the house and the experience being very boring. But I actually didn't understand how television was being made or was made then at all. I didn't have a clue.

Different story now!

Different story now, for sure!

A lot of people want to get that career in entertainment, but they're at a loss as to how to even start. How did you get a foot in the door in the TV world that led to all the things that you've been able to do?

So the truth is after Big Brother, it was a huge platform.

There was a show on Australian TV called Totally Wild. And it had been on forever, it was a legacy program. It was on 48 weeks of the year, four afternoons a week. They actually produced it out of Brisbane, which is where you and I grew up. 

After Big Brother, I was fortunate enough to meet the executive producer of the show. It was a guy called Jeff Cooper. And I met him at an event or a function and he probably shouldn't have done it, but he gave me his number or his card – one of the two. And I just started calling him up and I was like, "Jeff, I want to work on Totally Wild. Would you consider having me on to do a couple of episodes?"

He was very polite. I kept calling him and calling him, and he stopped taking my calls and soon his assistant would take the calls. "Hey, Wes. Nice to hear from you." And I probably called three or four times. Her name was Kate and she's amazing. She's still a friend. 

Eventually the call came back and they said, "Hey, we're willing to have you come in for two months. It's going to be unpaid. And we'll have you on two days a week." I said, "Done. I'm in. No problem at all."

And I actually started coming in five days a week. I just came into the office every day. And if I wasn't working on a story, I'd write scripts. I'd pitch my boss. I'd try and help out. I just wanted to be part of the environment to learn.

I'd try and help out. I just wanted to be part of the environment to learn.

After two months, I was offered a six month talent contract on camera. After that six months, it became a producing contract. And so when I was at Network 10 in Australia as a 21 year old, I was there for five years.

Check out the YouTube or podcast version where Wes Dening does the Win the Day Rocket Round, answering questions about his favorite quote, what advice he’d give his 18-year-old self, the one thing on his bucket list, and a whole lot more. ????

I was very, very fortunate because it's where I learned how to make TV. So every day I'd be making stories for Totally Wild, writing scripts, going in the field and shooting them with one camera, coming back to an offline machine where I'd do a paper edit, going in with the editor to make the three or four minute segment that would go into the show every night or every afternoon.

And in that time I got to do Totally Wild, which was a travel adventure show, I got to do live news. I got to do New Years Eve live telecasts. I got to do sports programming at Network 10. I got to do three different documentaries. 

Then I developed and produced a series on life in Antarctica and spent six weeks living in Antarctica. And that series did extremely well. I'm so grateful for that. I didn't make a lot of money in that time, but that's where I learned how to make TV. So it was those early years of just grit, persistence, and belief.

So many good lessons there. A lot of people focus on what they can get – and they feel that other people owe them something. 

But you were willing to leave ego aside just to say, "What can I do to serve you with what they're doing?"

Yeah. And look, everyone has a bit of an ego. I've got a bit of an ego. We all do to some extent. 

So I was on camera at the time. And of course I loved the fact that I was still doing work on camera. But I was willing to learn. I had to learn how to make TV.

I remember some fond memories are being in the middle of small town Australia. And after shooting all day, we'd sit in the motel room, crack a beer, and myself and our cameraman – who was in his fifties or forties, like really great operators – we'd plug the camera into the TV and we'd just sit there and watch everything we shot for the day and sort of like, "Oh, does this work? How can we do it better tomorrow? "So it really was sort of mooching off these pros in the industry and learning how to produce.

What was it about production that you liked more than sort of being the host of a show?

That's a good question.

When you are the host, you very very much are at the mercy of someone else. If you think you might be the perfect person for a program for whatever reason, it's ultimately not your decision. They might want a female or they might want someone that's got a certain accent. And there's certain things about yourself or myself obviously we can't change. 

What I love about production is that I get to create the narrative, I get to create the story, and I get to bring it to life. After Channel 10, I wanted to be creating shows. I wanted to be selling shows and I wanted to be making them – and making them is really tough. It's extremely hard.

But what I learned from Channel 10 was that series on life in Antarctica they distributed to say 20 odd countries around the world. And I was like, "Oh, great. When's my paycheck come through for that!?" They're like, "Well, what do you mean? You're in-house talent." And it was that moment for me where I was like, "Oh, okay. I actually don't understand the business of television."

What I love about production is that I get to create the narrative, I get to create the story, and I get to bring it to life.

I didn't understand IP. I didn't understand how copyright works. I didn't understand who owns the program and who doesn't. And so I've always had a fascination with that. 

In 2008, I moved to New York with big dreams. I wanted to learn the business of TV. I wanted to make shows in the US. I didn't know a single contact. I was so naive. I was 25. I decided to move to New York and I was going to make it in America. 

Honestly, I bought a book on the business of television. I've still got it. I just sat there and read it. I was like, "Okay, how do all of these things work?" And just started absorbing as much literature as I could.

Must be a good book!

It's a good book. It still holds up! 

And a lot has changed in the media industry since then, so a lot of it doesn't hold up. But it was my first entrypoint into, "Okay. How do I really make TV and not just be a cog in the wheel?"

You had a lot of success in Australia. Was it always a dream to move to the US? And how did you let go of the good life that you had there in pursuit of what might have been a greater one on obviously at a grander scale with the size of the US market?

That's a good question.

And the truth of it is, it's partly timing and relationships. Like I have an amazing wife who you know, Michala, was my girlfriend at the time. At the time, I was leaning towards moving to London because two of my best friends were moving to London. And it's very common for Australians to do a gap year or a couple of years in London.

I'd met with the BBC in London and they knew about my work in Australia. And there might have been an entry point to go and do a show at the BBC. I had connections at Channel 4 in the UK and at ITV, so I was leaning towards, "I can see how I can make a career in the UK."

Michala, for whatever reason, loved the idea of going to New York. And I love New York as well. I'd been there before and I absolutely love the city. So we just were like, "Stuff it. Let's go to New York City. Let's go against the grain.”

Yes, our friends are going to London and we love London too, but we just felt like it was more of a challenge and just something totally different. So yeah, we literally picked it on the map and naively decided to move there. 

We thought, "Oh, we'll have a hotel for a couple of nights and we'll find a place." We ended up through a friend of mine from primary school who had some cousins in Long Island, and we ended up living with them for six weeks until we got our own place in New York.

You mentioned relationships and networking there. Is there a process that you went through to get good at creating and maintaining those relationships once you moved to the US?

I've always been pretty good at networking and relationships. But my one goal was I had one contact who knew an agent and that agent was in LA. The agent was happy to take a meeting with me. And I went in there and I like sold myself as like, "Here's all the shows that I've worked on in Australia. Here's what I want to do in the US. I want to host, I want to produce, I want to build a company." 

For whatever crazy reason they believed me and they signed me up! This agency signed me for a 12 month or a two year contract. And that allowed me to stay in the US, but also they were my conduit to starting to meet people in the industry.

For whatever crazy reason they believed me and they signed me up.

It wasn't that they put me on shows or sold me into shows straight away. But at the time, I got to meet people at HGTV, at Food Network, at CNN, at Travel Channel, at Discovery. And instead of me just knocking on doors, it was a nice intro like, "Hey, I'd love you to meet Wes Dening. He's just moved to New York. He's an Australian producer and talent." 

Then I started using those entry points and I also got to meet production companies, like production companies that are still around today who obviously are what I do now. They sell and produce shows to networks.

But I got to meet the production community in New York City too.

It's a great reminder that out of all of these amazing shows or different businesses and things that are getting around, there are people out there who make these decisions. 

Too many people focus on the best cold approach, but you and I create relationships that lead to a warm approach, and everything opens up from there.

So true.

In the media industry, people are always like, "How do I get an agent? I need to get an agent." And I love agents. Some of my agents are some of my best friends here in the US. But it still comes down to the product – it always does – and the relationship.

It still comes down to the product – it always does – and the relationship.

So people think they'll get an agent, "I'm going to sell a show. I'll pitch it to my agent. Agent's going to send it to the network. Oh my God, we're going to make millions of dollars." But the reality is the agents are a very important part of the industry here in the US in film and television and literature as well and entertainment in general. But it still comes down to relationships and product. 

You have to have a great idea. You have to have a great world that you're pitching. It’s not just having a contact with an agency that's going to get you that next big show.

When you created WDE, your own production company, how did that feel at the time?

It was great.

We started in New York City. We also have WDE in Australia. And it's funny, my friends always give me a hard time because I actually started developing shows just doing things that I really enjoyed.

So the first show that we sold was The Stafford Brothers. We sold that back to Fox 8. And I was just laughing about it yesterday like thank goodness no one pulled back the curtains on WDE at the time because I was 27 and I sold a six part series to Fox 8 in Australia! 

Thank you very much for taking that leap of faith in me. But like I sold it out of a one bedroom apartment in New York City. There was no big office and anything like this. And for whatever reason, they committed and decided they wanted to make the show.

And we had a great timeslot that was after American Idol on Australian TV. And the series followed the life of these two DJs, The Stafford Brothers, who traveled around the world. 

The theme of the series was they want to be the world's number one DJ. So they were involved, their manager was involved. Matt's girlfriend Brooke was a big part of the cast. So it was very much this ensemble team of four following their journey. 

Then the next series we sold was called The Flying Winemaker with another mutual friend, Eddie McDougal. And that series we sold to Discovery International and it's now on Netflix. And it was hugely successful, but it was a food and wine show. So we traveled 13 different regions throughout Asia pairing Asian food with Asian wines. 

Then Big Crazy Family Adventure again was another amazing travel series. So I sort of lent into things that I thought I would want to make and people would find enjoyable.

Shout out Bruce Kirkby who was on the show on Episode 36!

What are some of the most thrilling moments you've had going around the world? Not just for WDE, but maybe for things you've done with Eureka as well?

I've been really lucky. Mount Everest was amazing. 

I remember for Big Crazy Family Adventure, for the final part of the journey we spent about seven days hiking to this remote monastery in Ladakh in the Indian Himalaya. And we had about 50 donkeys that were carrying all of our production gear. 

I remember looking back going, "Wow, this is something. How often do you have donkeys carrying all of your gear, and that many of them!?" So definitely that is a journey that was amazing.

I was just in Athens. We're doing a show for CBS and Network 10 called The Real Love Boat. We're taking that amazing series from the seventies and eighties, The Love Boat, and we're turning it into a dating series.

And just being in Athens again and being back in Europe after a couple of years of not traveling so much was thrilling. I'm really just excited to spend some time in the Mediterranean making that series coming up.

I was like, "We're in the middle of Antarctica on our own, helicopter doesn't come back till tomorrow, sleeping on the ice. How cool is that?"

Antarctica, absolutely. I've lost the photos, which I'm really gutted about. But I spent six weeks living in Antarctica. I'll never forget one time, because in Antarctica there really aren't any roads. We went from the base, a helicopter flew us to this sort of remote area where there was a colony of Adélie penguins. 

The helicopter dropped us off and he said, "We'll be back tomorrow to pick you guys up." And we were just on a big ice sheet and there was rock around as well where the penguins were. We spent the afternoon filming them. And because it was summer, the sun never really went down.

We had our sleeping bags and our bivy bags and some food. Once we'd finished shooting the penguins, we then rolled out our swags, got into our sleeping bags, had a little bit of red wine. I just remember looking around. I was like, "We're in the middle of Antarctica on our own, helicopter doesn't come back till tomorrow, sleeping on the ice. How cool is that?"

Surreal.

Yeah. It is surreal. I'd love to go back and do some of those things. I've been been very, very blessed.

Because we like to keep it pretty real from a mental health perspective on this show, were there any really dark days or one particularly dark day that stands out when you had your own production company?

I like to say I'm pretty good on a bad day. 

And I've had them for sure. Production's tough. And there are always days that are really rough. Things don't go well. Creative isn't quite as you hoped.

The client might not be feeling it, which is always tough in my position because for myself, one of my jobs is to oversee creative that's being executed on in the field, but also managing our client to make sure they're really getting what they want. So if the client's not happy, that really weighs heavily on me. 

I deal with a lot of rejection. So there are days where we put our heart and soul into an idea that we're developing or selling that might not sell. And that can be really rough because developing a show isn't a couple of days or weeks. It's often months and months of development where you’re really, really push for something.

I deal with a lot of rejection.

From a mental health perspective, I've got a pretty good head on my shoulders – it takes a bit to really knock me. 

I think the hardest thing with production is working out when everyone's saying, "No, this isn't going to work," how you get yourself out of the hole. And we've been in holes before, whether it's a financial hole, a creative hole or an execution hole. They're pretty dark days. But I tend to find I'm pretty good at shaking it off the next day.

Was there a concept that you had for a show that never got made where you were like, "Wow, I would just love to do this one day," or just never could find a good home for it?

I don't want to tell you because it might pop up again sometime!

Because it's true. I do have that bank of ideas. And there's a couple in my head, which I'm not going to say.

Check out the YouTube or podcast version where Wes Dening does the Win the Day Rocket Round, answering questions about his favorite quote, what advice he’d give his 18-year-old self, the one thing on his bucket list, and a whole lot more. 🚀

Like Eminem with the notepads of lyrics – it might be a song one day.

I had dinner with someone last night who pitched me an idea that they've had in their head forever. And I won't say what it is either. But I was like, "It could work. It could work." 

Like a lot of industries, if the timing's right and the creative's right and the idea's right and the team's right, it could go. So there's a few that sort of sit in the back of my head and I'm like, "I wish we could make that show."

A big part of your work, as you've mentioned already, is that you go into renowned networks and you pitch them this dream world and get them quite literally to buy into that.

How do you prepare in terms of making sure you give yourself the best chance of a ‘yes’ at the end of that pitch?

You want your pitch to be irresistible.

Our strategy is very targeted with our approach to development and sales. And what I mean by that is I'm not the sort of person who will develop a thousand things, pitch them all in the hope that one or two will stick.

People say throw a lot at the wall. I used to say that. I don't love that saying so much because what I think works best is to find something you truly believe in and give it the pressure test.

And then when you do go in to pitch, it's all about preparing the pitch and it's about the materials. And obviously it's about the creative too.

So for us and for me, if I'm going to pitch something, I really, really will think about how I present it. I'll think about the materials that I'll take into the room and I'll think from a network perspective, why are they going to buy this now? I'll rehearse, I'll practice, I'll pressure test. 

When I go in to pitch something, the materials are always really, really good – and I think our clients know that. When we go in to pitch something, it's not a half baked idea or just a piece of paper or just a one line.

You've built up the runs on the board now.

Yeah. Built up the runs on the board. 

I say to our team that it's not that we have to sell every show, but you always want the network to have your back for the next pitch. I want them to go, "Oh, where's this coming in? Let's hear what he's got. He's always got a good pitch." 

So I'd say for me it's, yes, making the pitch irresistible, but putting in the time to make sure it's a really well thought out pitch as well.

Can you take us through how you would pressure test an idea?

There's a few things in what I do. It's like if it's an idea, can it really be made? Because I get pitched ideas and you're like, "Can you do that?" So it's like, "Okay, can it be made?"

Then, is it a show that I would make, yes or no? I don't do crime shows. So if I was coming and pitching a crime doc series, people would be like, "What!?" But if it's something like if it's a big competition show, yeah, that's a show that we make. We make Holey Moley so that's a world that makes sense for us. 

You always want the network to have your back for the next pitch. 

And then by pressure tests, a lot of our shows are built around formats. It's like, how does the format work? So when I pitch you the idea and then go, "Great, love it. How does it work?" I can concisely walk them through what an episode would look like in a way that makes sense. 

Then they'll go, "Yeah, that's really smart." So that's what I mean by pressure test.

You're doing some incredible work at Eureka now with the all-star team. What are you most excited about for the future?

Eureka's an amazing company founded by Chris Culvenor and Paul Franklin who are two of my dearest friends, but also my bosses, and are amazing, amazing people to work with.

Chris is one of the most talented creative execs I've ever met. And Paul is one of the most gifted producers that I've ever worked with. I've learned a lot from both of them. I'm excited for the future. We've been around for seven years with Eureka and I think it's got a really great future ahead.

We've had huge shows on ABC, on Fox we've had success. Netflix, HBO Max are great partners of ours, Discovery as well. We're making some really great formats at the moment. We do Farmer Wants a Wife in Australia, which is a really fantastic series. I'm excited about The Real Love Boat coming out on CBS and Network 10.

But for me, it's like, how do we keep making big, broad entertainment shows that cut through? Because in the media landscape, yes, there are so many buyers. But it's how do you break through the noise? How do you make a show that people want to come and see at a certain time in the week if it's on a network, for example? 

Or if it's a show for a streamer, how do you get it to break through so that people are talking about it in their day to day life? So I'm excited to find the next big hit and I'm excited to build on our IP to make more shows, but also make them better so that Eureka is making shows for a very long time.

How do you determine something global versus something that might require a local component?

Typically, a format will have more chance of being a global product or something that you could replicate in multiple areas. A good example might be Australian Idol. 

Australian Idol happens in Australia with Australian talent and largely Australian judges, as a singing competition show. Start with 50 people audition, one winner at the end. So the nice thing about that being a format is you can do that in the US. You can do it in the UK. The format's probably been replicated in 50 countries around the world, I'd have to check. So that's the idea of something that globally could work in so many territories for local versions.

Whereas, another show like say Big Crazy Family Adventure is harder to replicate on a global scale because we don't have a Bruce Kirkby and his family in every country that we can do the exact same trip for.

So what I look for is, what are those big global formats that could work in the US or work in Australia or work in the UK? And then we can go, "Hey, here's the playbook. You can now replicate this in any country in the world because the idea and the format is really strong." So it's about building that IP and being able to exploit that.

So when you're on a winner, you just let the good times roll.

Exactly.

You spoke at The Day Won Mastermind recently. You shared the three most important attributes to your success – namely, grit, positivity, and reliability. 

How have those three attributes helped shape your career trajectory?

Grit is a big one for me. I've always had grit because it's not like I was handed a silver platter by any means. 

When I started in television, I fought for everything. My first show, I scrapped away. I believed in it. I didn't make any money. I put every cent that I could get into the production. I was 27 when I sold it. And then I made the show and then we got season two up and then I sold another show. So for me, I'm the guy that's happy to put in the work. And I'm actually there making our shows too.

I want to see people around me succeed and I want to be around successful and positive people.

Grit has been a huge part of my success. It’s been a solid tool in my toolbox because I actually now know how to make shows. It's not like I just know how to pitch shows. I know how to make the things. I've done it day in, day out. I'm constantly surprised and I'm always learning stuff, but I really am in the trenches, which is great. 

I'm also a pretty positive guy. I want to succeed. I want to see friends succeed. I want to see people around me succeed and I want to be around successful and positive people.

And then when it comes to being able to deliver and being reliable, that's a huge part of my industry because there's that saying you're only ever as good as your last show.

Like in the Mafia how they say you're only as good as your last envelope!

That's funny! 

I always make every show thinking like, "Hey, I want to get it to a season two." So I want it to be as successful as possible. But I also want our client to be happy with the product. I want to see it succeed and I want them to buy another show from me as well. 

I've always thought of my career in terms of longevity. And yes, I want to find the next big hit. But I also want them –  them being clients, networks, and partners – to continue to want to work with us. And I need to deliver in order for them to do that.

Playing that long game. A rising tide lifts all boats.

Exactly like that.

On your best day, what's an affirmation that you would write on a flashcard that you could show yourself on your worst day?

You're fucking good at what you do. Believe in yourself. Am I allowed to swear on this podcast!?

You can do anything you like!

It sounds a little cocky I suppose. But when I've doubted myself or I've been up against it, I actually know that I'm really good at what I do. 

And this is going to sound really over the top, but I think I'm one of the best people in the industry at what I do because I know how to make shows, I'm a straight shooter, I'm creative and I like to inspire the people around me – who are also creative most of the time – to do the very best that they can. That's a real skill and it's something I've been working on for 20 years, is making shows.

And confidence in yourself, such a great leadership trait as well.

I was going to say, because sometimes you have days where you are like, "Am I just doing everything wrong? Am I an idiot?" And I don't think I'm an idiot. But in times that are tough, it is nice to remind yourself that you're very good at what you do. And believe in yourself and you'll work out a way to get out of the hole.

Dr. Mike Gervais, who's one of the top psychologists for elite performance, actually mentioned something very similar. He just switched gears the moment I asked him that same question. 

You've got a beautiful family. You've got a wife, three kids and a great career. What would it take to put all that on hold to spend another a hundred days in the Big Brother house!?

So I get to go away from my family away from the kids and I have a hundred days on my own in a house? Where do I sign!? Sounds great!

God, it would take a bit, it would take a bit. I don't know why I would do that to be honest apart from just the time off or unless someone backed the truck up with cash and I was like, "Okay, sure."

The only reason I would go in there professionally is I didn't understand how to play the game. And having worked in the industry for the last 20 years, there's a strategy to it that I didn't quite understand. So I'd like to do it again in terms of thinking how you could really play the game and win it.

Play it like Game of Thrones.

Yeah, exactly. 

Final question, what's one thing you do to Win the Day?

It's my morning routine. I come in so charged to start my day. 

I've always been a morning person, but starting with a good swim or a bit of exercise. I like ‘Wes time’ before I start anything. I don't get on my phone or on my emails as soon as I wake up. I try and have that bit of time in my day to do something active. And I find that when I do that, I'm at my best.

I'll come into the office bouncing, ready to win. And I love Win the Day because every day is a battle and you do want to come out of it having a few wins. And I know that when I start my day like that and I come into the office and I see our team, I'm ready to go.

Always great to see you, mate. Thanks for coming on the Win the Day show.

Great to see you. Thank you buddy. I really appreciate it.

Final steps to Win the Day...

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That’s all for this episode! Get out there and win the day.

Until next time…

Onward and upward always,

James Whittaker

PS - If you have a question and want it featured on the Win the Day podcast, email your question (in writing or as an audio message) to: info@jameswhitt.com

Resources / links mentioned:

⚡ Wes Dening LinkedIn.

🌎 Wes Dening Twitter.

👑 Eureka Group.

🧭 Ep 46: Win the Day with Bruce Kirkby.

🧠 Mike Gervais ep.

🎬 Subscribe to exclusive Win the Day videos on our YouTube channel.